Le Jour d'après

I have to say that the dierector is a man who knows himself and other menfolk well. The essence of man is telling lies and forgeting and all the time. I will not repeat story. I just try to explain why this movie is so stunning. On the face of it ,the story is uneventful.But it has a power. When the publsher is burning to cry.Do you know why he crys? In general ,his life is mess .First, he feels guilty to the wowan who begins her first day at work .She is innocent because she does not do anything.His lover ask him what happen constantly.It's a really bad thing .And he doesn't want to tell her .And for publsher , he is in dilemma.Maybe an hour ago,he tried his best to ask her not to leave .But right now ,because of his lover,he must tell her to leave.In asia,it makes people feel highly embarrassed . And he tries to save his face,say"i understand you "

but the girl doesn't take it .She says "no ,you don't understand ."The girl is a little angry .The publisher has a feeling of powernessless.He life is out of his control and he is broken down.

It's Brilliant idea to put this man in this condition .He is the representative of men.We can see ourselves from him .That's the point of the movie.

This is a film where past and present exist in a continuous looping, as the leading character sees women as empty sheets, not caring about their single qualities and repeating the same behavior, approach and even dialogues. Indeed, he cares about nothing but his own comfort, and lies, evades or presents himself as a victim whenever it is convenient. He is a coward womanizer who cheats his wife and merges work with sexual life. Perhaps his own weakness to sustain his positions, to say what he really thinks, is a protection by himself to keep that easy role and not make decisions, it is an alibi to always reapeating the very same wrongdoing without feeling responsible for it. Philosophical and religious discussions, often combined with food and booze, rose during the film, and the reasons of their appearance seem to be open to varied interpretations. Aesthetic choices by the director may make it somtimes unnecessarily confusing, and by reading other reviews I understood that it is a trait of his filmography, even stronger in previous movies. Unfortunately I could not watch the last scene until its very end, due cable TV problems.

Geu-hu (2017) is a Korean movie shown in the U.S. with the title The Day After. The film was written and directed by Sang-soo Hong.

It stars Min-hee Kim as Song Areum, a young woman who begins her first day at work in a small publishing house. Unknown to her, the woman who held the job before she did was the married publisher's lover.

What follows is a French-style farce, with trysts, mistaken identity, and woman-on-woman violence. The publisher, who is at the center of all this, doesn't strike me as someone women would fight over. Because of this, the film didn't work for me.

We saw this film in its Rochester premiere at the wonderful Dryden Theatre at the George Eastman museum. It has a decent IMDb rating of 7.0. I don't believe it's as good as that. In any event, it will work as well on the small screen as it does on the large screen.

Areum has just been hired by the publisher Kim Bongwan. She replaces the boss's resigning secretary (and mistress!). This morning, well before dawn, Areum leaves the marital home to join her new office. On the way, she can't stop thinking about the woman who left. On the spot, she sets to work. At the same time, Haejoo, Kim's wife, finds a love letter that he had left lying around in one of his pockets. Exploding with rage, she goes to the office. Taking Areum for the accomplice of her unfaithful husband, she slaps her in the face...

One likes or dislikes Sang-soo Hong as one likes or dislikes Eric Rohmer. But if one is sensitive to the charm of a "conversation piece" type of cinema, one will appreciate this philosophical fable, delicately hidden under the attractive trappings of a pure marivaudage. Ironic evocation of the indecision in love, serious reflection on honesty and hypocrisy, unvarnished denunciation of male cowardice, many themes of the Korean director are gathered here. But Sang-soo Hong, closer to Marivaux than Bossuet, approaches these austere subjects with a lightness that is both caustic and good-natured. And it is well-known that smiles help moral and reflection go down. As for the direction itself, "The Day After" bears the indelible signature of its author, namely these long sequence shots where the protagonists talk and talk, laugh and laugh and drink soju by hectoliters. Such a technique gives once again Hong's favorite actors the opportunity to shine (the beautiful Kim Min-Hee and the cowardly Hae-hyo Kwon here getting the best part of the cake). However, there is no question of the Korean master resting on his laurels; on his agenda is also the exploration of new territories, such as the use of black and white as well as some interesting research on the dilation and retraction of time. "The Day After", an unprecedented example of pure style and joyful skepticism, is to be recommended ... to those who are not allergic to this kind of cinema.

This story has no beginning no end. The director connects the viewer at a certain moment. But this moment is random from the point of view of semantic load. So from the very beginning the film is not exciting, and so it goes until the end of the movie.